Americana

Week 15: Elton John and Brandi Carlile- Who Believes in Angels?

~ honestopinions19 ~ Leave a comment

Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 14: Mumford & Sons- Rushmere

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Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.

However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.


It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.


What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.

It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.


Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.


However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.


What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.


Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.


As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.


Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.


It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song.
Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.


’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.


As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.


Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’

7/10

Week 11: Miley Cyrus- Endless Summer Vacation

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I do not know how I first came to hear of Miley. I just knew she was the daughter of Billy Ray Cyrus, who had the early 90s country pop smash shit ‘Achey, Breaky Heart’. I also knew she played a character called Hannah Montana on some children’s television channel, and I believe she was also part of the infamous Disney Kids Club. I remember her appearing as Jake’s fling on Two and a Half Men. Now, as you can imagine, the music I have heard of hers is all that awful pop chart shite. But I have enjoyed her collaborations with DJs, and her country songs, which her vocals are better suited for. I also enjoyed her cover of ‘Nothing Else Matters’, which I reviewed on someone’s album. The name of the artist who collaborated with Miley to cover the popular Metallica songs escapes me now. I have so far avoided her cover of ‘Slideaway’ by Oasis. I have heard it’s good, but nothing beats the original or better.

So, “Endless Summer Vacation” certainly wasn’t the usual kind that Miley churns out; far from it. This album is not pretentious in any way. Miley reveals every detail about her marriage, divorce, embarking on a relationship, and other topics, with minimal swearing, which is a surprise.

I need clarification on why the opener “Flowers’ gets a raw deal. It is by far the best song on the record in both guises (The closer is a stripped-back demo version.). Again, I wasn’t expecting her to do a melancholic song over a disco stomper, which also throws in a strings section that deems this track a comparison to Gloria Gaynor’s ‘I Will Survive’. I like how the song is directed at Liam Hemsworth, but with the disco vibe, you are carried away by the uplifting instrumentation.

‘Jaded’ is the second track, and…wow! Fucking shoegaze? I never thought I’d hear Miley channel the War on Drugs or Slowdive. So, you got that floaty instrumentation over a synthesiser and Miley’s best vocals on the record. The topic concerns being in a dysfunctional relationship and how she is often at home waiting for her boyfriend (Now an ex, in this case.)to return from the bar after heading out in his car. However, he does not try to notify her of when he will return, so she is unaware. She is exhausted by his coping mechanism. Hence, why the chorus says, “You Leave me feeling jaded”.

The next song is ‘Rose Colored Lenses’, another shoegaze moment. ‘Thousand Miles’ follows, which features Brandi Carlile on co-vocals and acoustic guitar. This Americana track is about keeping your shit together when the head is all over the place. ”Handstand’ is a spoken word song with a synth and springs to life after the halfway point turning into electropop. Only then will the song have a lot going on.

‘Muddy Feet’ features Sia on both the song and the writing credits and sees Miley aim at a cheating ex. The delivery is raspy until she steps it up by telling him to “fuck off”.

‘Wildcard’ sees Miley explaining her imbalance in a relationship, saying that she wants it all and is fully committed, but she cannot guarantee that it will remain that intense. 

‘Island’ is a double-sided coin. It can mean feeling euphoric about finding someone, and then it can also mean feeling alone after breaking up with someone and longing for those moments.

On the outro, Miley has shown maturity on this album and discusses things she might have shied away from before. It certainly is an eye-opener to the honest Miley and not the one portrayed in the media.

Song recommendations: ‘Flowers’, ‘Flowers(Demo)”, ‘Jaded’

7/10

Week 13: Lana Del Rey- Chemtrails Over the Country Club

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Ah, the luxury of not researching the history of an artist for once. Why? I reviewed her 2017 album “Lust for Life”, where she wasn’t holding back when she went after the former president on issues such as racism and class division. The title of her latest record will raise a few eyebrows, significantly since “Chemtrails” has been dropped in. That is controversial in itself because she’s aware that chemtrails are chemicals dropped from planes into the atmosphere that are used to decrease population or for mind control. You already sense that Lana will touch on some interesting subjects that the world superpowers will not like. The “Country Club” part is just a place where you are more than likely to play Golf or go Horse riding. Other things to enjoy include Tennis, the gym and a health spa. Anyway, onto the review…

This is Lana’s (Or Lizzie Grant’s) seventh studio album, where the sound is inspired more by the mid-west than the glitz and glamour of Los Angeles. Once again, Jack Antonoff is on production. You might recall I mentioned him in the recent review of Taylor Swift’s “Folklore”, and Jack has taken away a lot from those sessions and added them to Lana’s album. The record starts with the piano ballad ‘White Dress’, which I prefer out of most of the tracks with Lana’s almost whispered vocals and the subject of when she started in the music business. You have an essence: Lana has grown tired of LA and is looking for a much slower pace at this juncture in her life and maybe her career. I hope not because she makes good music, and it would be a shame if she decides to have a hiatus for five years.

 There’s even room for a Joni Mitchell cover (Which is the final track.), with her first features over the Americana and country-inspired record spanning over eleven tracks. I am not sure what the contributions of Nikki Lane and Weyes Blood are because I only hear Lana’s vocals with backing vocals in the chorus. Of course, maybe I needed to listen more carefully to the aforementioned featured artists in the verses. The album, with its lyrical content, subjects, delivery, excellent drumming, and the brilliance of Jack’s production, seems to be about Lana looking for the simple things in life, like swapping diamond earrings for tan wood earrings and Beverley Hills for Mammoth Spring State Park.

Song recommendations: “White Dress”, “Let Me Love You Like a Woman”, “For Free”

7/10